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Dada Between Heaven and Hell: Abstraction and Universal Language in the Rhythm Films of Hans Richter* MALCOLM TURVEY Since its demise, Dada has functioned as an inspirational precursor to, and rich resource for, a variety of different critiques of modernity, as any regular reader of this publication will know. Does Dada have anything to say to those of us today who, while acknowledging modernityâs problems, continue to believe in the basic ideals and aspirations of modernity, in part because modernity allows for self-critique; and who also believe that advanced art could continue to play a crucial role in that self-critique, as did Dada in the early twentieth century? For Dada is often identiï¬ed with extreme, uncompromising condemnations of modernity, and with good reason. On the one hand, there is the strain of nihilism in Dada, the viewâassociated with ï¬gures such as Tristan Tzara and Francis Picabiaâthat modernity has robbed human existence of any meaning, and that the correct (anti-)artistic strategy is to constantly reveal the meaninglessness beneath any pretensions (usually deï¬ned as bourgeois) to meaning. As John Erickson has put it, âDespite its varied origin, centers of artistic activity, and personalities, Dada has usually been classiï¬ed bag and
October – MIT Press
Published: Jul 1, 2003
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